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The Gathering
Legends Of Folk Rock
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Gathered from - LINDISFARNE, FAIRPORT CONVENTION, STEELEYE SPAN, MAGNA CARTA & JETHRO TULL
Never before has such a line up drawn from the genres' most influential bands come together on stage to celebrate their shared heritage of songs and performances.
Legends of Folk Rock features a veritable Who's Who of key musicians, whose combined experience and membership have seen them record or perform with some of the most influential artists to grace the stage and whose work can be found amongst discerning record collections across the world.
The Gathering have recently been in the studio and the first fruits of the recording sessions - a 5 track EP will be released in time for the tour.
To book this unbelievable band please call Peter Barton at Rock Artist Management on 01200 444544 or Mobile 0771 2628366 email rockartistmgmt@aol.com
http://www.myspace.com/thegatheringonline
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THE HAMSTERS PLAY HENDRIX
Friday on the International Stage approx 7.00pm
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From the hinterlands of the Thames River Delta come... The Hamsters...
Now in their twentieth year together, having performed more than 3,750 concerts and with a national mailing list exceeding 20,000, the Hamsters are established as the UK's premier blues-rock attraction. This has been achieved purely by hard work with the band handling all their own affairs, thereby disproving the popular misconception that it can't be done without major-label "muscle".
THEY'RE FABULOUS! ONE OF BRITAIN'S VERY BEST LIVE BANDS" - Bob Harris, Radio 2
Slim is one of my children
Albert Collins, blues legend
We love The Hamsters here on the show, they're one of our favourite bands. You must see them, there's so much energy from their live performances
Bob Harris, Radio 2
Keep on playing the Experience!
Noel Redding, Jimi Hendrix Experience
The best little band in the country!
Peter Green's (Fleetwood Mac) Splinter Group
We make a great double bill
John Mayall , blues legend
The Hamsters really kick ass, Slim is one of your greatest guitar players
Walter Trout
If there was a Grammy for being kings of the road, The Hamsters would walk it
The Times
Nobody does the music of Jimi Hendrix better
The Times
They've proved themselves to be one of the best live blues acts in the UK
The Times
A guitar virtuoso performance you'll rarely see matched anywhere, and the tightest rhythm section in the business
Blueprint
Outstanding
The Guardian
Top drawer, rough-edged R'n'B
Time Out
These guys are awesome!
Ents24.com
Blistering Blues-Rock
Manchester Evening News
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IAN PARKER
Friday on the International Stage approx 8.30pm
(with Aynsley Lister)
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ian parker - 21st century blues man
Expressed through a distinctive bitter-sweet vocal delivery and harrowing guitar work, Ian's songs hold nothing back. His ability and willingness to share with his audience, naked honesty and genuine emotion, is what sets him apart.
Drawing on an eclectic range of influences, this young man is fast becoming Britain's best loved blues/roots performer. A songwriter genuinely literate, sometimes almost literary, Ian is an original craftsman rooted in the blues but not trapped by any desire to replicate the past. He is without doubt a relevant contemporary blues man.
Ian signed to Ruf Records following a personal introduction to US record producer, David Z (Prince - Purple Rain). His debut album 'INSIDE' (Ruf1094) was released in October 2003.
" I was truly honoured to be involved in this project." David Z
In March 2004, Ian appeared on Germany's top live music TV show, 'Rockpalast' as part of the 'Crossroads Festival'. Ian and his band were voted the number one act of the festival and a live DVD of this incendiary performance was released in June 2005, entitled '.WHILST THE WIND' (Ruf3007).
In addition to the DVD, a live album documenting Ian's performance in Hannover during his December 2004 European Tour, was also released in June 2005 under the same title (Ruf1102). Both releases met with high critical acclaim and continue to notch up impressive sales.
In September 2005, Ian wrote and recorded five songs for a Ruf Records project album, 'PILGRIMAGE' (Ruf1112) which was recorded in Clarksdale, Mississippi and Memphis, Tennessee, and released in January 2006. The recording of Pilgrimage, not only extended Ian's touring activities throughout Europe and importantly into the US, it also had a profound effect on the artist's musical direction and focus.
On return from America in September 2005, Ian began a lengthy artistic process based around his rediscovery of the blues and soul artists who had inspired him to begin playing as a teenager. This period of consolidation culminated in the recording of the album 'WHERE I BELONG' (Ruf1120), released in January 2007.
'WHERE I BELONG' was recorded in Cheltenham, England and produced by Matt Butler, whose extensive CV includes none other than Sir Paul McCartney. Recorded analogue to tape, the album has the rich and warm sonic characteristics associated with the pre-digital age, but there is nothing retro about this release. 'WHERE I BELONG' has something for all blues fans, purists and progressives alike. It catalogues the pronounced growth and self-discovery of a modern blues artist who is here to stay.
Ian was born in December 1976 in Birmingham.
The Beatles' Rubber Soul album, found in his parents' record collection, was the catalyst to Ian's interest in music at the age of eight. Soon to be inspired by Jimi Hendrix, Ian raided his piggy bank and bought his first guitar in 1985.
Together with two school friends he formed his first gigging band Strange Brew in 1993. Ian soon realised that if he was to establish a solid song writing foundation and a comprehensive understanding of the guitar he needed to study the music of those who had influenced the likes of Hendrix and his contemporaries. Strange Brew disbanded in 1993.
Throughout 1994, Ian regularly attended a local jam session where he teamed up with a very talented local guitarist some three years his senior. From this liaison, a five-piece blues band Blue Horizon (a name stolen from the famous Mike Vernon record label) was formed featuring two lead guitars. Great energy and hugely self-indulgent, but in Ian's mind the wrong composition to develop into a product with longevity.
1996/7 saw Ian focusing on his degree course and he graduated from The University of Derby with a BSc Honours in Psychology!
Upon his return from Derby and with a clear vision, Ian created Monty Turnbull - a four-piece line-up which included 'Morg' Morgan on piano / organ. Perhaps the greatest shock was Ian's decision to front the line-up with his own lead vocals. Young drummers and bass players came and went but the Parker / Morgan alliance grabbing the headlines on the Birmingham R 'n' B circuit. In 1998, session bassist Chris Lomas climbed on board, followed by equally seasoned and renowned drummer Tony Baylis the following year, to form Parker's Alibi. During this period and owing largely to the musical stability offered by this new line-up, Ian's playing, singing, and song-writing developed notably and he established a reputation across the European circuit, as one of the UK's hottest Blues prospects.
By the end of 2001, Ian felt the time had come to move on, and with mixed emotions of excitement and sadness he disbanded Parker's Alibi in February 2002. After a brief period of experimentation with various musicians, he settled on a line-up including ex-Robert Plant drummer Andy Edwards, bass virtuoso Steve Amadeo, and of course his close musical companion Morg Morgan on keyboards to form The Ian Parker Band which he launched with great success in November 2002. Another change at the end of 2003 saw Aynsley Lister & Amor drummer Wayne Proctor join the band.
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AYNSLEY LISTER
Friday on the International Stage approx 8.30pm
(with Ian Parker)
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JANUARY 2007 PRESS RELEASE
In a world full of manufactured over-hyped pop music, Aynsley Lister is proof that there is light at the end of the tunnel. Witnessing him live on stage, what you see is what you get. Powerful, infectious songs performed with the kind of conviction of someone twice his age, but with the vigor and energy of any one of the current A list acts.
"Exceptionally mature and exciting" - MOJO
"Superb" - THE TIMES
Unashamedly blues influenced, this is probably Lister's Achilles heel. Say the word 'blues' to a commercial record company and see how far they run! But Lister carries on regardless writing and recording albums that continue to sell and prove that blues rock music can be just as commercial as half of the committee written stuff you hear every day on the radio. Just one listen to the title track of his latest album 'UPSIDE DOWN' and you'd be hard pressed to come up with a reason why it shouldn't be in the Top 40
Since signing to Ruf Records, Lister has certainly not let the grass grow under is his feet. He has recorded three studio albums, two live albums - one solo acoustic and one along with a live DVD for Germanys ROCKPALAST TV show. He now headlines many of the major festivals throughout Europe and shows why he has played alongside blues legends such as Buddy Guy, John Mayall, and Robert Cray aswell as big name pop artists such as Bryan Adams and Fun Lovin' Criminals.
Throughout 2006 he made up one third of Ruf's highly acclaimed Blues Caravan project which included the recording of the album PILGRIMAGE in Clarksdale, Mississippi and Memphis, Tennessee and a live DVD of the show for ROCKPALAST.
September 2006 saw the stateside release of his album EVERYTHING I NEED. With Europe firmly in hand, Lister is now heading for the U.S.A. and with plans in place to tour the U.S. during 2007, he has the perfect album to follow it all up: UPSIDE DOWN.
UPSIDE DOWN is Lister's fourth studio album and his first to contain entirely self penned material. Every aspect and quality that his fans have now come to expect is there, from the raunchy guitar, the melodic voice to the infectious songs but to simply pronounce this release another worthwhile effort would be an injustice indeed: Lister has matured and honed his talent and on this release taken his first step into production. The result is his strongest, boldest and most compelling album to date.
In reality his career is just getting started - he has the ability to reach such a wide-ranging audience from teenagers to folks who grew up in a time when real artists mattered. Right now Aynsley Lister has everything he needs to turn the world upside down
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IAN SIEGAL
Friday on the International Stage approx 10.30pm
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Biography"Awash with wit, lust and distraction.one of the most inventive Blues recordings ever made by a British artist."
MOJO****
"This album is a rare combination of cleverness and craft."
**** (Excellent) PENGUIN BOOK OF BLUES RECORDINGS
It has been said that had Siegal been around in the sixties he would today be accorded the same reverence as artists such as Van Morrison, Joe Cocker and Eric Clapton. Instead, he is a child of the seventies who dropped out of art college in the late eighties to go busking in Germany. From the streets of Berlin Siegal progressed to clubs around Nottingham, then to London and ultimately to major stages around Europe.
Two successive European tours (2003/4) opening for ex-Rolling Stone Bill Wyman's Rhythm Kings brought him to the attention of a wider audience. This was followed by UK tours as a duo with Big Bill Morganfield (son of Muddy Waters, the man who Siegal calls The Blues God). During this time Siegal was also capturing the hearts of audiences in Holland, Belgium, Austria and Hungary. In 2005 he topped the Soul/Blues/Jazz charts in Holland and in 2006 he debuted in the USA, appearing at major clubs and the largest music festival on the West Coast.
"If my Daddy were alive today he'd say "That's my boy!"
BIG BILL MORGANFIELD (son of Muddy Waters)
Born in the deep south (of England!) in 1971, Ian's earliest musical memories are of the likes of Buddy Holly, Jerry Lee Lewis, Elvis and Chuck Berry. This led him into a life-long passion for the Blues and all of its various branches, and most of all, the inimitable Muddy Waters.
"I cannot remember not knowing about Muddy Waters, even as a child," says Ian. "His music and that of Howlin' Wolf have been a huge influence on me."
At 16 he began to roadie occasionally for his cousin's band and one night, quite unexpectedly, he was asked to sing. The result was a blown-away audience and a delighted (and rather surprised) young vocal talent with a career ahead of him.
It was 2 years later that he picked up a guitar and taught himself to play. At 20 he dropped out of art college and travelled to Berlin, busking for a living. This is where he says his playing dramatically improved as, if he didn't make money, he didn't eat! By the time he returned to England he knew that a career in music was the only one for him.
A visit to Nottingham resulted in a five-year stay and Ian's first band became one of the most popular on the local music scene. He quickly showed himself to be a gifted songwriter with a deep understanding of tradition, but with an eye on the future.
Moving to London to further his career was inevitable and Ian was soon an established part of the London Blues community. That's where today's Ian Siegal band was born.
Many gigs followed, along with a number of appearances with American artists. He has also sung with other bands, notably The Lee Sankey Group and can be heard on the album "Tell Me There's a Sun".
Appearances on larger festival stages followed - such as Edinburgh, Lugano, Peer, North Sea Jazz - establishing him as one of the most natural, exciting and vibrant talents on the scene today.
Each year the stages get bigger, but what sticks most in Ian's mind is his guest appearance with 92 year old Pinetop Perkins and some of the other remaining members of Muddy Waters' band. This was at London's Jazz Café in 2005 to a packed house. Then at a festival in Norway, in a role reversal, these legends of post-war Blues spontaneously joined Ian on stage for what turned into a memorable hour long set.
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DR FEELGOOD
Friday on the International Stage approx 12.00 midnight
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''You don't have to be a musician to play rock and roll.
You've just got to love it and want to play it.''
''People don't talk about an orchestra and say,
'Oh. Are ya still playing that fucking old Beethoven stuff?'
Why should they say the same to us?''
LEE BRILLEAUX 1976
Formed on Canvey Island in Essex in the early 1970's Dr Feelgood has become one of the most popular live rhythm and blues acts in the world.
The raw and uncompromising style that made them so popular resulted in the band achieving a number one chart position with the album "Stupidity" - a testament to their dynamic stage show.
Dr Feelgood have enjoyed a string of hit singles in many countries including "Milk & Alcohol", "Down at the Doctors", "Roxette", "She's a wind up" and "See you later Alligator".
The last album to feature Lee Brilleaux, "Down at the Doctors", was recorded live on Canvey Island at the band's own music bar just two months before he died.
Lee's final wish was for the band to carry on and so it was decided to continue. The current line-up of the band is led by their drummer Kevin Morris, and features Steve Walwyn on lead guitar, Phil Mitchell on bass and charismatic vocalist, Robert Kane, formerly of "The Animals II".
May 2000 saw the UK release on EMI Records of "Chess Masters", the band's own tribute to the Chess brothers and the influential record label which was the home of the finest blues artists.
Grand Records recent releases include "Finely Tuned", a collection featuring the guitarists of Dr Feelgood, "Speeding Thru Europe", an exciting live set recorded at various shows between September 2002 and January 2003, and "Wolfman Calling", an album celebrating some of Lee's finest blues recordings.
The band still undertakes a full touring schedule and has completed tours of most European and Scandinavian countries, a full summer of festivals and a triumphant return to Japan.
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MICHAEL ROACH BAND (USA)
Saturday on the International Stage approx 3.30pm
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Michael Roach, one of thirteen children born to Ted and Sadie Roach of Washington, D.C., USA, sings and plays guitar in an East Coast style of blues that dates back to the 1920s. After spending several years learning directly from such well known figures as John Jackson, John Cephas and Jerry Ricks, Michael Roach has developed his own style and is now an exceptional performer. He interacts with his audience and he entertains as he plays.
Over the past 20 years, Michael has conducted numerous workshops throughout the USA and Europe. As a cultural arts performer, Michael has promoted African-American culture through the use of blues music. He has lectured for the Smithsonian Institute (USA), Oxford University (UK) and more recently at the University of Metz (France). In July 2004, he was involved in the organization of a conference held at the University of Gloucestershire (UK) called "Overseas Blues - European Perspectives on African American Music".
The Michael Roach band, eight musicians dedicated to the soulfull sound of rhythm and blues.
After eighteen months of rehearsing and writing songs, blues singer/gutarist Michael Roach teamed up to form a band with keyboardist Danny McCormack and saxophonist Paul Corry. The result of this collaboration will be the debut release of 'I Betcha!' in the autumn of 2006.
Michael Roach, originally from Washington D.C. and now resident in the UK for the past eleven years, is an internationally acclaimed country blues artist.
He is firmly established in traditional music circles. Michael is currently the Director of the European Blues Association Incorporating the Archive of African American Music, a registered charity based in Cheltenham, Gloucestershire.
He also presented a series called 'Deep Blue' on BBC Radio 4 in 2003.
As a featured vocalist on Bernie Marsden's (former guitar player and songwriter for the rock band 'Whitesnake') 'Big Boy Blue' album in 2002, Michael developed
confidence in his ability to front a band as a singer from the experience of touring with the 'who's who' of British rock and roll. During the 'American Festival of the Blues' tour in the United Kingdom in 2003, Michael met the talented Danny McCormack and Paul Corry. This led to the trio's pact to rehearse and write new music throughout the years 2004/05.
In the end, they recorded fourteen tracks with eleven originals and three covers (one by Curtis Mayfield, 'People Get Ready', one by Bobby Bland, 'I Pity the Fool' and another by Hank Ballard, 'Let's Go, Let's Go, Let's Go'). From the southern soulful sound of 'I Betcha!' to the big band sound of 'Baby No, No, No', this
album has it all. Above all, the Michael Roach Band is full of energy and is a true crowd pleaser.
Michael is the founder of the European Blues Association and serves as its Director of Development, Secretary and Newsletter Editor. He is the Director and Guitar Instructor for the annual Blues Week 2000 - 2006 programme (a week of lectures, guitar, harmonica, piano/keyboards and vocals tuition) at Exeter University (2000/2004) and the University of Northampton (2005/2006). Michael also presented "Deep Blue", a three part series on blues music featured on BBC Radio 4 in March 2003. It is Michael's communication skills together with his musicianship that has enabled him to bring about a greater understanding of blues music and the Black experience.
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OTIS GRANDE (USA)
Saturday on the International Stage approx 5.00pm
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OTIS GRAND, the Gentle Giant of the Blues, has absorbed a wide spectrum of Blues styles in the past four decades and now leads the hottest TRUE Blues and R & B band around today. More importantly, he not only carries the real blues TORCH for the heros of yesterday, his superb blues guitar technique and playing and originality and a tight band that rocks mean, Otis Grand also sets the standards for many others to follow which ensure that he is at the top of the Blues scene for many years to come.
Otis Grand has pioneered the big band blues sound over the last few years, starting with a West Coast R&B band and now moving into his present guitar led Big City style Blues. For the past ten years Otis has recieved a number of Awards including UK BLUES GUITARIST OF THE YEAR ( 1990- 96), Best Blues Albums, Best Band, and nominations to the prestigious W.C. HANDY BLUES Awards in Memphis, Tenn.Surely testimony enough of the man's ability and dedication to the Blues.
Anyone who has experienced the Gentle Giant of the Blues in action can bear witness to the devastating effect he and his band can have on the audience. His gigs are now legendry, drawing acclaim from purists and from those who come looking for a good night out.Otis has toured consantly turning in consistently great performances, building a big following and confirming his "numero uno" status in Europe.
On his 1992 CD, the esteem with which Otis is now held by his many friends in the Blues World is evident by the stature of those musicians who have joined him on "HE KNOWS THE BLUES". Critics have already claimed it to be "...one of the best contemporary blues records heard for a long,long time". ( source : Tony Burke - Editor, Blues & Rhythm Magazine )
Not content with having become the Undisputed leader of the British Blues Scene, Otis goes on to attack the USA & Canada head on and comes out with a clear winner with his new 1994 CD. Recorded in Boston,mass. "NOTHING ELSE MATTERS .." shows where he's coming from and where he intends to go!.This CD has already recieved the highest critical acclaim for a new artist (see News/Articles Page..), and has also hit no. 6 on The prestigious USA HARD REPORT TOP 20 BLUES CHART.
Otis Grand's music career spans over 25 years. Otis Grand has played a major role in the evolution of the modern blues scene in Britain.
After the decline of the British blues boom of the 60's , Otis arrived on the scene and formed his 10-pieces Rhythm and Blues band , and firmly established his act and style of blues in Britain , quickly becoming a firm favourite throughout Europe.
Guitarist Otis Grand has been playing blues guitar since the age of 13 - Otis says: "I never listened to any one but B.B.king and Robert Johnson for a very very long time, and I am glad I've missed out on all the heavy blues/rock/acid thing that was going on in the 60's. This way I have preserved the deep blues roots of my playing style, which now goes with me in whatever musical journey I am attempting."
In 1988 Otis Grand released his first album 'Always Hot' with his big band. The band quickly dominated the UK blues scene, and soon after began to establish an international audience by touring extensively in Europe, and also as an opening act for such major stars as John Lee Hooker, BB king, Albert Collins, Stevie Ray Vaughan, and Steve Winwood, among others.
The following years he released three further CD's each with a veteran Blues artists: Guitar Shorty in 1991, Philip Walker in 1992, and 50's Tenor sax star Joe Houston in 1994. The Shorty release won a coveted W.C. Handy Award for best Blues album (foreign)
In 1990 Otis Grand released his first solo album for Sequel Records with musicians and guests from the USA. The album, titled "He Knows the Blues", was critically and commercially acclaimed. This album was testimony to Otis' superb song writing and guitar playing, and as well as his standing in the blues fraternity by the calibre of artists who agreed to appear on this album.
1995 release of Otis' second album for Sequel," Nothing Else matters " further established his reputation as one of the country's best and most convincing bluesman. This powerhouse release mixes slow scorchers with uptempo jumpers that had the dance floors from Scandinavia to California packed. This album was also Grand's major U,S debut and a ' kick the door open' approach to American Blues fans. The CD established Otis as the highest seller in the UK and Europe with total sales outdoing other blues artist, including Robert Cray and Duke Robillard. It has also debuted at no. 8 and reached on the US top 20 Blues Charts, and received extensive radio play in both Canada and the USA.
With his third release for Sequel , Perfume & Grime, Otis Grand became a huge guitar star all over the USA & Canada. During the summer and autumn of 1998, Otis embarked on a major tour of Canada and the United states, and appearred at all the major Blues festivals, including the long running San Francisco Blues festival, and the Mighty Cisco Systems OTTAWA Bluesfest. This led to a 2 year stretch with IKE TURNER & the Rythym Kings .. as Guitarist and Band leader. Otis also performed in concert throughout the UK and Europe with his own band in support of the GRAND UNION CD release, with special appearances by Anson Funderburgh and Debbie Davis.
Otis continues to tour throughout the world, bringing his Classic Big Band Blues to many festivals and Events. He released a long-awaited Live CD plus a highly acclaimed duet CD with Joe Louis Walker aptly titled "Guitar Brothers". He also continues to make special guest appearances with other Blues Artists, and through the annual OTIS GRAND R&B ALLSTAR EXTRAVAGANZA, has teamed super artists like STEVE CROPPER and KIM WILSON together with the Late ROSCO GORDON and SUGAR RAY Norcia. Others legendary artists invited were JOE HOUSTON, T99 NELSON.
Otis has also started a " Blues in Schools " lecture programme aimed at the younger generation and which has been very successfully recieved in High Schools in the South of Britain.
Recently, Sanctuary Records released a 2 CD, 34 track best-of Compilation of Otis' 5 Studio Recordings in recognition of sales figures in the past 10 years. The label has created a well-packaged and informative product containing the best tracks with many special guest artists. The Box is titled "In Grand Style", and has been a best seller in the UK and Europe.
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ROBBEN FORD BAND (USA)
Saturday on the International Stage approx 7.30pm
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In the 1960s, long before pop artists were backed by the generic, computer-based accompaniment that is commonplace today, singers often recorded with formidable house bands, including Booker T. & the MG's and the Muscle Shoals Rhythm Section. The former band came together at Stax records in Memphis, laying down timeless grooves on hits by artists like Otis Redding, Albert King, and Carla Thomas. The latter group-based in Muscle Shoals, as well as New York and Nashville-enhanced such classic tracks as Aretha Franklin's "Respect," Wilson Pickett's "Mustang Sally," and Paul Simon's "Kodachrome."
Growing up in the '60s, a teenaged Robben Ford spent countless hours listening to artists like Aretha and Otis, at the same time soaking in guitar blues from Mike Bloomfield, Eric Clapton, and B.B. King. In his early 20s, Ford went on to join blues luminary Jimmy Witherspoon's band. But soon, Ford experienced a diversion from the genre. In 1974, the guitarist was discovered by saxophonist Tom Scott, whose progressive fusion group, L.A. Express, then teamed up with Joni Mitchell to support her Court and Spark tour and play on two of her albums (1974's Miles of Isles and 1975's The Hissing of Summer Lawn).
Today, possessing a résumé that includes stints with an impressively broad range of other musical personalities-Miles Davis, George Harrison, Little Feat, and the Yellowjackets, among many others-Ford has demonstrated an uncanny adaptability similar to that of the MG's and the Muscle Shoals group. The guitarist has effortlessly traversed genres without compromising his exquisite, blues-based playing and singing. So it's only natural that on his latest album, Keep On Running (CCD-2187), Ford tips his hat to Muscle Shoals and the MG's, offering fresh takes on soul classics, in addition to serving up several glowing originals.
Keep On Running boasts a core group of heavyweight players-bassist Jimmy Earl and drummers Toss Panos and Steve Potts. Ford couldn't be happier with his co-conspirators. Of the low-end, he raves, "Jimmy's just about my favorite bassist in the world. He has a great feel, and he and I see eye-to-eye in terms of time; Jimmy is so comfortable to play with." Ford is similarly praiseful of his percussionists: "Steve plays so beautifully. He can do rhythm 'n' blues in such an authentic way, while at the same time sounding incredibly fresh. And I've played with Toss on the road for a couple of years now; I've really benefited from his unique feel."
Among other instrumentalists, Ford expanded the core group with a battery of keyboard players. But after the recording was completed, Ford, a relentless perfectionist, found that their sounds were incongruous. He explains, "At a certain point, I thought, 'What's wrong with this picture?' It turned out I just didn't want to hear the [Hammond] B3 [organ]." So Ford, himself a diligent multi-instrumentalist, redid most of the keyboard parts, using the more appropriate-sounding Wurlitzer electric piano.
Ford's journey throughout this CD, his second for Concord Records, covers many musical miles. Starting things off, the title track is a fresh though faithful cover of the Spencer Davis Group classic, which captured a then 17-year-old Steve Winwood on vocals. Joining the core cast here are Bob Malach on tenor sax and Edgar Winter on baritone; Ford expertly handles the guitar, vocal, and keyboard parts. "I really dug this record when I was growing up," says Ford. "I'd been wanting to hear it again, but it only recently became available on CD. My producer [John Wooler] also had this song in mind. We worked up an arrangement at rehearsal recorded it."
"Over My Head" showcases Ford's organic, breezy compositional style in a song dealing with the oldest of subjects: man chases woman, followed by heavy infatuation. Here, his smooth, blues guitar screams and moans in a perfect extension of the song's soulful vocals. "'Over My Head' came from a casual guitar riff that I found myself playing one day," says Ford. "The words tumbled out quite naturally. The riff seemed to suggest something many men go through as one point, or many times-meeting a woman you know is dangerous but find completely irresistible."
Ford was at first uncertain about "Can't Do My Homework," originally recorded by Otis Rush. The guitarist says, "We played the song, but it has such a camp lyric. It felt so good, though, and was so much fun to play, that we just had to use it." And it is such an enjoyable listen, too. Showcased here are Ford's gorgeous guitar tones and sharp, playful improvisations, which never stray too far from Rush's original version.
On "Badge" (written by Eric Clapton and George Harrison, and recorded by Cream), Ford offers another respectful cover, his smooth vocals backed by those of Siedah Garret (the singer also appears on "Bonnie"), and his creamy guitar tone recalling that of Clapton, while retaining Ford's own unmistakable imprint. "I've always loved the first Cream album, which is brilliant," says Ford. "Recording 'Badge' was John Wooler's idea. I'm glad he suggested it; the song so was nice to use as a touchstone, since I had worked with Harrison, and he had recently passed away. You can really hear his influence in there, as well as Clapton's."
"Peace Love & Understanding" finds Ford using R&B to smooth out a more rocking version recorded previously by Elvis Costello. On this outstanding song, Ford duets with the legendary Mavis Staples (who, incidentally, began her recording career at Stax/Volt in 1969, backed by the MG's) commenting on the difficult times as of late. Ford explains, "I have to say that I didn't grow up listening to Elvis Costello. But this song presented a great opportunity: I don't like what's going on in the world right now, and "Peace Love & Understanding" expresses a beautiful sentiment.
A smart blues instrumental, "Cannonball Shuffle" was written by Ford for Freddie King. The composition showcases Ford's gutsy though refined playing, in addition to some fine soloing from Malach. Ford says, "While planning this album, Wooler and I were talking a lot about Freddie King. As a youngster, I'd never gotten next to him, but now that I've taken the time to get inside his style, I modeled 'Cannonball Shuffle' after tunes like 'Hideaway' and 'The Stumble.'"
The album's second half-"Me and My Woman," "Bonnie," "Lifetime Thing," "For the Love of Money," and "Hand in Hand With the Blues"-maintains a similar vibe. It's at once old-school and, thanks to Ford's outstandingly fresh playing, contemporary. Ford says, "This is the music I grew up with, when things were more carefree. For me, the album is full of nostalgia. I think we could all use some of that kind of feeling today."
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DEITRA FARR (USA)
Saturday on the International Stage approx 9.00pm one of the Women of Chicago Blues.
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DEITRA FARR is considered one of Chicago's top vocalists, according to Living Blues Magazine (May 1997). Fiery, energetic, and soul-stirring describes this woman, who was nominated for ''Traditional Female Blues Artist'' of the year by the 1995 & 1996 Living Blues Critics Awards, and the 1998-2002 British Blues Connection Awards.
This Chicago native began her career in 1975, singing with local soul bands, before deciding on a blues career in the early 1980's. In 1997, after recording on eight previous CD projects with others, Deitra recorded her first solo CD, ''The Search is Over'', for the London-based JSP records. In 2005, Deitra released her second JSP CD ''Let It Go!''
The multi-talented Deitra Farr is also a published writer, poet, and songwriter. A graduate of Columbia College (Bachelor of Arts in Journalism), Deitra has recorded many of her own original compositions and has written articles for the Chicago Daily Defender, The Chicago Blues Annual and the Italian blues magazine Il Blues.
In 1990 Deitra respresented the Chicago Tourism Bureau in Dusseldorf, Germany and has toured England, Iceland, Finland, Norway, Canada, Holland, Belgium, France, Switzerland, Italy, Yugoslavia Greece, israel, Austria and Latvia.
Deitra has continued touring worldwide singing her own very personal brand of blues, soul and r&b.
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ZORA YOUNG (USA)
Saturday on the International Stage approx 9.00pm one of the Women of Chicago Blues.
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Despite the prominent presence of celebrated blues artist Howlin' Wolf in her family tree, singer Zora Young grew up singing not blues, but gospel. Even when the Mississippi native shook off her roots at the age of seven to relocate with family to Chicago, she attended the Greater Harvest Baptist Church and continued to sing gospel.
It wasn't until later that she switched over to R&B, and evolved into a powerhouse blues vocalist with three decades of experience behind her.
She has performed with a long list of legendary artists, including Junior Wells, Jimmy Dawkins, Bobby Rush, Buddy Guy, Professor Eddie Lusk, Albert King, and B.B. King. Her recording credits include collaborations with Willie Dixon, Sunnyland Slim, Mississippi Heat, Paul deLay, and Maurice John Vaughn, among others.
Her own recordings as a solo artist include releases from the labels Deluge, Black Lightning, and Delmark.
Young has also performed on television and on-stage. She is a veteran of more than 30 tours of Europe, and she has been a featured performer many times at the Chicago Blues Festival.
,She has performed throughout North America, and on stages in Italy, Germany, Belgium, Sweden, France, Switzerland, and Greece, as well as Austria, Tai Pei, and Turkey.
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GRANA LOUISE (USA)
Saturday on the International Stage approx 9.00pm one of the Women of Chicago Blues.
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Straight from the heart of Chicago, GRANA' LOUISE encompasses the Blues. She is simply hands-down, one of the quintessential female voices of the Windy City.
Her show brims with all the elements that makes a performer great. Her deep-throaty, rich voice belts out the kind of raw gut blues that transports you. Her impeccable timing and staging is keen, spiced with ribald fun and pizzazz that gives audiences a show to remember!
Her background in professional theater and dance, lends itself wonderfully to her show that includes an array of Chicago-style blues, as well as wonderful old-time blues and jazz.
Grana has toured throughout North America, South America and Europe and continues to travel regularly wowing audiences with her versatile voice, stage-presence and high-energy show.
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GENO WASHINGTON AND THE PURPLE ACES (USA)
Saturday on the International Stage approx 12.00 Midnight
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Forty Years of Geno
Geno Washington had two of the biggest selling U.K. albums of the sixties. Amazingly both of these were live albums. The First Hand Clappin Foot Stompin Funky Butt Live was in the album charts for 48 out of 52 weeks in 1966. Incredibly only The Sound of Music and Bridge Over Troubled Water sold more copies in the UK that year.
U.S. blues acts rarely visited the UK. Having come over with the U.S. Airforce and stayed Geno subsequently became our blues man. His level of touring and the high energy of his gigs was and still is the stuff of legends as immortalized by the 80s hit Geno by Dexys Midnight Runners. Genos sets were relentless with almost every song segueing into the next. Hit followed hit the beat was continuous and the punters couldnt get enough of it.
2005 is Genos 40th year as a soulfull blues rocker in the UK.
Geno is always in demand and highly entertaining... As was proved at the Royal Albert Hall with Eric Clapton, Jools Holland, Bill Wyman Georgie Fame and friends for The Lords Taverners.
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CHRIS JAGGER ATCHA
(Mick Jaggers Brother).
Sunday on the International Stage approx 2.00pm
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Chris Jagger's Atcha! are releasing their third album
'Act of Faith' on S.P.V's Blue label in March 2006.
Atcha!, described as 'gumbo blues' by Observer critic Stuart Nicholson, deliver their most mature and compelling album to date. The new album comes after a year of club and festival appearances that included the Marlborough Jazz Festival, Glastonbury Festival and numerous European festivals.
'Act of Faith' follows two previous, acclaimed recordings, Rock The Zydeco (a.k.a Atcha!, released on Sequel Records, UK, and Curb Records, USA) and Channel Fever (Latent Talent). Spearheaded by Chris's wry, often poignant songwriting, the new album clearly cements the band's position amongst the finest exponents of earthy swamp blues, cajun and roots-rock.
Not only does the new album feature new slants on the hard driving cajun rockers and growling blues that are the band's trademark, but it reaches deep into slippery New Orleans funk with '15% Extra Free' and swinging country/zydeco on 'Got Me Where you Want Me' featuring the great singer Sam Brown. 'DJ Blues' is the first duet ever recorded by Chris and Mick Jagger, and the desolate haunting 'Junkman', one of Chris' greatest songs, features an unforgettable atmospheric guitar cameo from David Gilmour.
CHRIS JAGGER'S ATCHA!
Founded in 1994, Chris Jagger's Atcha! is now hotter than ever. Come 2002, Atcha! is one of very few UK bands that can handle cajun, R&B, zydeco, blues and country in an authentic and original fashion.
The first CD, 'Atcha' (Sequel Records) and the follow-up 'Channel Fever' (Latent Talent) established Chris Jagger as a talented song-writer and singer. His songs are definitely in a different bag from brother Mick's, but this hasn't prevented them collaborating on various occasions.
Chris is backed by a band of great musicians. Charlie Hart brings to the band feel and experience gained from his time in Ronnie Lane's Slim Chance. Like Charlie, the fine drummer Malcolm Mortimore has been in the band from the beginning. The line up is completed by guitar prodigy Jim Mortimore and the brilliant bass player Paul Emile.
Chris Jagger's Atcha! rock any festival or club they play at. The songs are seasoned, witty and warm and the band easily fills the dance floor. Strong original material is complemented by covers ranging from Zydeco grooves to rock classics from the likes of Johnny Allen, the Meters and Chuck Berry.
REVIEWS
'Chris showcased his tunes with a spirit and spunk that made family ties beside the point'. (Billboard)
'very engaging'; 'if the Faces or Pogues had been from Louisiana they would have sounded like this'; 'this Jagger is a sly sharp songwriter'. (Daily Telegraph)
'he does the job with so much joi-de-vivre that he and his four good-timey chums might well kick more life into your next party than anything released by the Stones in the last decade'; 'when the band locks into a bubbling groove, they mix up a potent brew'. (Mojo)
'heir to the throne left vacant by Ronnie Lane's Slim Chance'; 'Channel Fever finds Jagger writing strong enough songs to make his brother jealous'. (Q magazine)
'plays the old styles with plenty of heart'; 'a genial take on a range of American styles'; 'solid, danceable beat'. (Daily Mail)
'genuine British Zydeco'n'Country package. The crazy thing is that it works'; 'you could easily mistake this for the genuine American article'. (Hi-Fi News)
'the younger Jagger has discovered an excellent vocabulary'; 'the feel is authentic'. (Birmingham Post)
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LUTHER GROSVENOR BAND. (aka Ariel Bender). Ex Spookey Tooth, Stealers Wheel and Mott The Hoople.
Sunday on the International Stage approx 3.30pm
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FRANKIE MILLERS FULL HOUSE
Sunday on the International Stage approx 5.00pm
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Frankie is one of the legends of the British music scene, with a powerful voice that has drawn numerous comparisons. His distinctive voice and song writing ability have earned him the respect of his peers and that is reflected in the number of world renowned artists, including Rod Stewart, Joe Cocker, Etta James, Cher, The Everly Brothers and Ray Charles, who have covered his songs.
Frankie was born on 2nd November 1949 in the east end of Glasgow and first became aware of the power of Rock and R&B through his mother's record collection. She had a fondness for Ray Charles while his older sisters introduced him to Little Richard and Elvis Presley. He identified instinctively with Little Richard's flamboyant aggression. " The music was alive, exciting, I loved it. I realised later that I could get my own aggression out through music. R&B and Soul Music, I just knew was what I really loved".
Frankie started writing songs at the age of nine after being given a guitar by his parents. He composed a song called "But I Do " which caused tears of laughter amongst his family members but Frankie was to remain undeterred.
His infatuation with music and his natural vocal talent took a positive form in the shape of the succession of early groups.
At school there was The Deljacks , West Farm Cottage and a soul outfit called Sock It To 'Em JB which featured good friend Jimmy Dewar ( Stone The Crows , Jude and Robin Trower)
He eventually joined The Stoics who were signed by Chrysalis in early 1970. A German tour supporting Ten Years After was followed by an appearance at The Isle of Wight Festival ( as Howl ) but the band unfortunately split before completing any recordings.
Frankie then met up with Ex Procul Harum guitarist Robin Trower, Ex Jethro Tull drummer Clive Bunker and bassist Jimmy Dewar who had just left Stone The Crows. Together they formed one Rock's first "supergroups" - Jude. Despite a number of college gigs in the London area, Jude never made it to the recording studio and also , sadly split.
After the demise of Jude, Frankie signed a solo contract with Chrysalis in 1972 and recorded his first album "Once in a Blue Moon " using " Pub Rockers " Brinsley Schwarz as his backing band. Material wise the album showcased Frankie's skills as a well above average song writer and " I Can't Change It " was accorded what must have been for Frankie, the ultimate compliment when Ray Charles covered it on his album " Brother Ray Is At It Again "
The Brinsleys ended up backing Frankie when he was given the support slot on Ten Years After UK Tour, bringing him back to Scotland to perform for the first time since the Stoics days. They also cut a four song BBC session for the Bob Harris Show which was released in 2002 on Hux Records.
Frankie's career took off after that first album, when on hearing it, legendary producer Allen Toussaint ( of Lee Dorsey - " Workin' in a Coal Mine" fame ) took him to New Orleans to record " Highlife", with Frankie's soulful leanings being allowed a free reign.
Released in January 1974, reviews were good , though without the sales to match it, it was clear the collaboration would be a one off.
During this period, without a band or hit record to his name, Frankie helped his good friend Phil Lynott to write, perform and record a track for Thin Lizzy's " Niight Life" album.This turned out to be the classic "Still in Love with You" which became one of the highlights of Thin Lizzy's shows for years to come. A brief collaboration with progressive rockers Procul Harum saw Frankie front them at The London Rainbow Farewell Show during which he featured songs from Highlife including "Shoo Rah Shoo Rah ", "Brickyard Blues" and "The Devil Gun"
Many people had compared Frankie's soulful style with that of Paul Rodgers and when former Free bass player Andy Fraser was looking for a new band, he clearly saw in Frankie a similar vocal talent. The two wrote and recorded together but nothing permanent came of it. Their search however for a permanent lead guitarist led them to Ex-Grease Band member Henry McCullough with whom Frankie would form The Frankie Miller Band. "The Rock", released in September 1975 marked the band's debut with bassist Chrissie Stewart, drummer Stu Perry and keyboard player Mick Weaver completing the line - up. "The Rock " was produced by Elliot Mazer ( Neil Young- Harvest ) and recorded in San Francisco in sight of the famous Alcatraz Prison. Frankie once commented that it was only music that had saved him from that kind of fate and dedicated the album's title song to "prisoners everywhere". The album also featured the legendary Memphis Horns and The Edwin Hawkins Singers who supplied vocal backing on classic songs like " A Fool in Love", which enjoyed a lot of airplay on both sides of the Atlantic and was a sizeable hit in the U.S. "Aint Got No Money " became the album's most covered song with notable versions from Cher, Chris Farlowe and Bob Seger.
When the band returned to the UK, Henry departed to record a solo album and Frankie put together his new "Full House" band, with Procul lyricist Keith Reid taking on a management role. The result was a year of hard graft on the road beginning with a 50 date UK tour, kicking off in May 1976 and finishing with a triumphant show at London's Victoria Palace on 27th June. Frankie had added Ray Minhinnet on lead guitar, Jim Hall on Keyboards , ex Enwhistle's Ox Graham Deacon on drums with Chrissie Stewart completing the solid backing band. Recordings for the " Full House" album began in November 1976 and combined Miller originals with choice covers including John Lennon's " Jealous Guy" which Frankie sings with great feeling and a first ever UK chart single - Andy Fraser's " Be Good to Yourself" Full House disbanded after a long American tour and Frankie turned to the States for a third time to work with Aerosmith producer Jack Douglas on " Double Trouble"
The Record Plant in New York was where Double Trouble took shape in April 1978 and Frankie brought yet another impressive line-up with him including legendary drummer BJ Wilson from Procol Harum, Chrissie Stewart on bass, highly rated session player Ray Russell on Guitar, a two-man horn section of Chris Mercer and Martin Drover and perhaps the most impressive recruit, keyboardist and vocalist Paul Carrack, who would co-write five of the songs with Frankie. Stephen Tyler from Aerosmith made a guest appearance as backing vocalist and the album contains some powerful playing and singing but in the opinion of opening act guitarist Steve Simpson, from Meal Ticket, both band and songs were even better live. Later in 1978 Frankie went on to have his first Top Ten single " Darlin'", a song written by Q Tips brass player Stuart ( Oscar ) Blandamer .
Darlin' was included on the" Falling in Love" album and featured Frankie's new touring band of drummer Fran Byrne, Bassist Tex Comer and Paul Carrack, that trio forming the backbone of " How Long " hitmakers, Ace, plus Steve Simpson and Ed Deane on guitars. They toured Europe extensively and supported Rory Gallagher on the German leg before returning triumphantly to the UK.
During 1979 Frankie decided it was time to diversify and made a move towards acting and starred in Peter McDougall's TV film " Just a Boys Game " winning rave reviews for his performance. He also wrote and performed " Rules of the Game" for the soundtrack.
The early 80's found Frankie in the capital of country music, Nashville and with some of the finest sidemen that city could offer, cut "Easy Money", an album that merged rock, country and r&b. Frankie co-wrote five songs with Troy Seals, a respected country song writer whose work has been covered by Lonnie Mack, Rod Stewart and Percy Sledge. "Heartbreak Radio ", written by Frankie has in turn been covered by a diverse selection of artistes including Kim Carnes, Roy Orbison, and The Osmonds. Easy Money's release in July 1980 would effectively end Frankie Miller's link with Chrysalis Records, but the connections and impact he made in Nashville would prove deep and long lasting, since within the decade he would become one of country's most sought after songwriters.
Frankie returned to the States yet again with a record deal from Capitol Records and in June 1982, released his eighth album.
" Standing on the Edge" was recorded at Muscle Shoals Sound Studio in Alabama, with the backbone of the music being supplied by part of the legendary Muscle Shoals Rhythm section, who had worked on such classics as "Respect " by Aretha Franklin and "Mustang Sally" by Wilson Pickett. While the recording location and musicians involved were definitely American, the material was all self - penned. Songs like " Danger Danger", "To Dream The Dream " and particularly "Jealousy" would be highlights of Frankie's live shows for years to come. From the early to mid eighties and onwards, the live performances were moving back to a rockier side with former Free/ Bad Company drummer Simon Kirke and Brian Robertson from Thin Lizzy joining Chrissie Stewart to form a powerful backing band to compliment Frankie's voice. Together, they cut " Dancing in the Rain " in New York and the album was released in the spring of 1986.The album contained several collaborative compositions with Jeff Barry, whom Frankie had met when a plan to re-record the Crystals' " Da Doo Ron Ron " was mooted. When the record didn't happen, they instead came up with a batch of new songs which feature on the album. The band did a tour of major cities in the USA with Bob Seger later that year and toured extensively throughout Europe into the early Nineties when Frankie had a number 1 hit in Scotland with " Caledonia", a soundtrack from a television advert that was released by public demand.
Frankie continued to become an in - demand writer on the country music scene and had started on a new project to record with Joe Walsh and Nicky Hopkins when he suffered a massive brain heamorage in New York on August 25th 1994. It should have killed him but he has shown remarkable courage to claw his way slowly back to health, after spending 15 months in hospital. With massive support from his partner Annette, Frankie is learning to walk and talk again and has even written a new song with lyricist Will Jennings called " Sun Goes Up Sun Goes Down "
The BBC filmed a documentary in 1999 called " Stubborn Kinda Fella" to mark his amazing progress.
In 2002 a 3 CD tribute album of Frankie Miller covers, featuring artistes like Lulu and Rod Stewart and a charity concert for the Drake Music Trust which featured over 20 live acts at Barrowland in Glasgow including Joe Walsh and Nazareth show the depth of feeling and respect that the music business has for Frankie Miller today.
That opinion was confirmed by the fact that Eagle Records released Frankie Miller's first eight albums - Re mixed and Re mastered for the first time by a British Company and who chose a generous selection of bonus tracks for each album.
Plans for a new Frankie Miller album have been under discussion for a while so it may be that after all of the twists and turns that fate can bring, the best times for Frankie Miller may be yet to come!
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HENRY MCCULLOUGH (Ireland)
ex Wings and The Grease Band.
Sunday on the International Stage with Frankie Millers Full House. approx 5.00pm
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What have Joe Cocker, The Grease Band, Paul McCartney and Wings, Roy Harper, Marianne Faithfull, Leon Russell, Ronnie Lane, Donovan, Andy Fairweather-Lowe, Spooky Tooth, Viola Wills, Bobby Harrison, Gerry Lockran, Hinkley's Heros, Eric Bell, Frankie Miller, Denny Laine, Eric Burdon, Tim Rice and Andrew Lloyd Webber, Pink Floyd, Sweeney's Men, Eire Apparent, Last Bandits, Rosetta Hightower, Fleadh Cowboys, Teresa Brewer and Terry Clarke all got in common?
HENRY McCULLOUGH
The career of Henry McCullough cuts through just about every conceivable facet of rock music, and touches upon some of its most glorious moments.
Growing up in the seaside resort of Portstewart, Henry's first musical venture was as guitarist with Irish showband The Skyrockets and the years to follow found him doing the dance hall circuit with similar outfits, including the popular Gene and the Gents.
When the blues boom hit Ireland, Henry became involved with the rougher side of music through the outfit that were to become Eire Apparent. Managed for a time by Chas Chandler, Eire Apparent were one of the many bands to take part in package tours of Britain, alongside groups like The Move, Pink Floyd, The Jimi Hendrix Experience, Amen Corner... After an untimely exit from the band, Henry nailed down some of the finest mix of traditional and rock with his work as part of the legendary Sweeney's Men. It is said that this line-up more or less invented the concept of Folk-Rock.
He then drifted to London where he became steeped in the blues scene, rubbing shoulders with some of the greats of the genre who were just coming to the attention of the British revivalists. An encounter with a young Sheffield singer led to a job and Henry's first brush with the realIy big time - as part of Joe Cocker's Grease Band. Tours and albums followed quickly, including an appearance at Woodstock and a lengthy period of work in the States.
Breaking with Cocker, Henry and The Grease Band continued to mune a gritty blues vein that made them a live favourite that has rarely been equalled.
He found himself auditioning for a gig with ex-Beatle Paul McCartney. Henry, along with Denny Seiwell, Denny Laine and Linda McCartney were the first - and many say best incarnation of Wings. He embellished the single 'My Love' with a graceful solo that is one of the all-time guitar gems and shows once and for all the expressive power of the instrument.
At one Wings session at Abbey Road when Pink Floyd were in the studio next door, Henry made a spoken contribution to the classic Dark Side of the Moon.
But musical differences with the headstrong Macca followed, and Henry made the decision to leave. Following his instinct for rock he ended up in some very good company, playing guitar and gigging with the Roy Harper, Marianne Faithfull, Ronnie Lane, Donovan, Frankie Miller, Eric Burdon, Viola Wills, Spooky Tooth...
During a visit back home to see his family in the early 80s, an accident with a knife almost cost Henry his livelihood, severing tendons in his playing hand. The enforced lay-off allowed Henry to re-evaluate his life and his career, and he took the decision to stay at home in Ireland. The road to recovery was almost complete when Henry started sitting in with the Fleadh Cowboys for their now legendary Sunday afternoon residency in The Lower Deck in Dublin. It soon became apparent that Henry's contribution was an attraction in itself, so he formed his own band and toured Ireland in 1988.
In the 90's Henry moved back to Portstewart and formed a new band with Percy Robinson on pedal steel and Roe Butcher on bass and Liam Bradley on drums. More recently the band has featured James Delaney on keys, Chrissy Stewart (Frankie Miller Band) on bass, Chris Probst on guitar and Tony Phillips on Drums.
In 1998 he went to Poland, where he rehearsed a band of Polish session musicians for a tour. At the end of the tour, they went into a studio and played 'live' for an afternoon. A resulting CD, Blue Sunset was consequently released in Poland, and was followed up by a further successful Polish tour.
On returning home, Henry decided that it was time to do record a few studio tracks. With help and encouragement from his many friends, he released 'Failed Christian', a harrowing self penned song that has since been covered by Nick Lowe on his latest Demon album, 'Dig My Mood'.
In the summer of '99 Henry was devastated when his beloved 1963 cherry red Gibson ES335 went missing from a British Midlands flight between Warsaw and Heathrow. However, he still has his gold-top Les Paul that he played at Woodstock.
Henry McCullough is justifiably one of rock's most legendary figures. Check him out live sometime and be convinced for yourself.
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RAY MINHINNETT
Sunday on the International Stage with Frankie Millers Full House. approx 5.00pm
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What I love about the blues is the fact that it is timeless. The older you get, the better you get. It's a constant learning curve. Every performance is different and you are constantly developing your art and technique. Learning how to harness, control, and project the passion and emotion you feel bottled up inside. Playing the blues is the only way I know of excorcising and expressing these emotions. If you're made like that, it's for life, it's God given, and there's just no getting away from it." Ray Minhinnett
Ray Minhinnett is one of Britain's most passionate and soulful Blues-Rock Guitarist/Singer/Songwriters. Initially spotted in his native North - East by Ex Animal, Alan Price. In his early days he played with Price, Georgie Fame, and his own band, Highway, before joining forces with Frankie Miller and forming Frankie Miller's Full House. He is acknowledged by his peers as one of the few real contenders for the title of 'King of British Blues Guitar'.
In 1996 he signed a major publishing deal with Polygram/Sweden Music, and since then has been making frequent writing visits to Sweden, and also to California, to write a with number of successful writers including olf friend, ANDY FRAZER, formerly with 'FREE'.
Although he has only returned to the live performance stage recently, he has already proved on the road that he is in great form, playing, singing, and writing better than ever. The reason for his absence being that for most of the last five years, he has been tirelessly working on projects relating to the film he conceived, wrote and produced for Granada Television, and his own production company, Schemeglobal, with his partner Bob Young of Status Quo fame.
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HAMISH STUART BAND
(ex Average White Band and Paul McCartney)
Sunday on the International Stage approx 9.00pm
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Glasgow born Hamish Stuart first attained international acclaim as the lead guitarist and falsetto voice of the Average White Band, one of the great self-contained Soul/Funk bands of the 70s. However, when the band's popularity began to fade in the early 80s, the group split and Stuart went his own way. He became a much sought-after guitarist and vocalist, and over the next several years worked with David Sanborn, Aretha Franklin and others. Most notably, in the late 80s he joined Paul McCartney's band as guitarist for a half dozen years and several albums. He also wrote for a number of artists, including Atlantic Starr's hit "If Your Heart Isn't In It" and songs for Smokey Robinson, Jeffrey Osborne, George Benson and Diana Ross.
He left the support role with McCartney to seek a belated solo career, culminating in 1999 with the CD Sooner or Later, 17 years after his final AWB recording. Released on his own Sulphuric Records, it was a gem, sounding much like a classic 70s AWB disc, but with a generally mellower, soulful feel. Leading with the upbeat instrumental, "Sooner," the album captured much of the old AWB groove while mixing in touches of Philadelphia soul ("New Kind of Fool") and Urban Adult Contemporary ("She Is My Lady"). Most of the disc was a collection of well written midtempo numbers ("Makin It Up," "I Don't Wanna Be A Rock," "Care For You") that lyrically discussed male-female relationships in a surprisingly vulnerable manner. And topping if off was "Midnight Rush," a hot funky tune that could have been an Average White Band cut, circa 1976. Stuart's voice, which spent more time on Sooner or Later in normal range than in his familiar falsetto, was solid throughout, and his guitar work and backing band were excellent.
Two years later, his Hamish Stuart Band (drummer Ian Thomas, bassist Steve Pearce, keyboardist Andy Wallace, percussionist Jody Linscott, guitarist Adam Phillips and saxman Chris Davis) released the very good Real Live album that covered both classic AWB material and some of Stuart's solo material in an intimate concert setting. Stuart also recorded an jazz/funk instumental album with Thomas, Jim Mullen and Pino Palladino under the group moniker Jimjam.
Stuart continues to perform live with his band and is producing other acts, most recently Gordon Haskell and Swedish singer/songwriter Meja Beckman.
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KING EARL BOOGIE BAND
Sunday on the International Stage approx 10.30pm
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THE ROOTS OF THE KING EARL BOOGIE BAND
In the beginning was MUNGO JERRY - a band born of the late sixties who impudently upstaged The Grateful Dead and roared on to sell 23 million copies of a classic record called IN THE SUMMERTIME. The band captured the imagination of the audience not least for the clever lyrics of their songs (many attributable to Paul King), the wonderfully raspy vocals (uniquely Ray Dorset) and the manic karate chop style of piano playing (black-belt piano by Colin Earl). For a while MUNGO JERRY prospered, but sadly - eventually the band drifted and came apart. While Ray Dorset went his own way still using the MJ name; COLIN EARL and PAUL KING took their half of the creative talent from MJ and set up their own band. Imaginatively named:
THE KING EARL BOOGIE BAND.
The whole story of the split of Mungo Jerry was the subject of speculation in the papers at the time - and the full story has never really been told. While I'm sure there are many versions of the truth, Colin Earl's version was eventually published in the November 2006 edition of Blues in britain magazine. visit www.bluesinbritain.org to find out how to subscribe.
The KEBB originally made their mark with some seminal records - Trouble At Mill and The Mill Is Gone were two collectors pieces, and their first single, Plastic Jesus, is remembered by many. It was famously banned by the BBC who thought from the title that it must be profane - although of course it isn't. Over the years Paul sometimes played on his own - sometimes as himself and sometimes under the name of "Paladin". The Band also traded as "Skeleton Crew" at various stages. There have been periods of intense activity and periods when virtually nothing happened (not least because Colin Earl spent some time in the USA helping his brother Roger Earl establish FOGHAT - a band in the style of Roger's previous team - The Savoy Brown Blues Band. Both bands enjoyed a huge American following.
Eventually Paul King retired and moved to Cornwall but still the KEBB wouldn't lay down and die ! Paul graciously allowed the band to continue to use his name and he sometimes guests with the KEBB. He has even been known to revive Skeleton Crew when he can get enough of the original musicians together and a recent (Autumn 2006) move of house to Surrey may see this become a more regular event.
The bands' musical style has changed subtly with the change in personnel, and while they still play the favourites of In The Summertime and San Francisco Bay Blues, the blues roots and songwriting ability of DAVE PEABODY has broadened the band into a magical brew of boogie woogie rhythm and blues and jug band all rolled into one. LES CALVERT with his background with Alexis Korner, Mike Kooper and Jona Louis has added vocal range and a more solid rock feel to the proceedings. Most recently, in 2005 JOHN COGHLAN brought his spectacular hard drumming from STATUS QUO and transformed the KEBB yet again. IAN CAMPBELL still plays his soul out on lead guitar and the current incarnation of the band remains under the leadership of COLIN EARL who still karate chops his poor keyboard whenever he thinks piano protection league aren't looking !
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JOHN COGHLAN
(ex Status Quo and Diesel)
Sunday on the International Stage with King Earl Boogie Band approx 10.30pm
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John Coghlan joined Francis Rossi and Alan Lancaster in their newly-formed band in 1962 and the group went through a series of names, including Traffic Jam, before meeting up with Rick Parfitt and becoming Status Quo in the late 60s. A long string of hit records, successful worldwide tours and television appearance followed for the next 20 years: the hits included Pictures of Matchstick Men; Down Down; Caroline; Rain; Rockin' All Over the World, and many more.
When John Coghlan left Status Quo in the latter months of 1981 - during rehearsals of new material for the band's 20th Anniversary album in Switzerland, he decided to turn his attention to his own band Diesel. Coghlan had continued to revive his band, on a part time basis since his first performance as John Coghlan's Diesel Band, with a group of friends at the Marquee Club in London back in 1977. The line up for this debut show had consisted of Coghlan on Drums, with Bob Young on harmonica and backing vocals, Andy Bown playing bass, Gordon Edwards (ex-Pretty Things) on keyboards, guitarists John Fiddler (ex-Medicine Head) and Micky Moody (then with Whitesnake), and vocalist and all-round front man Jackie Lynton. The show was a great success, with the band actually playing for some three hours - although they had actually only prepared and rehearsed a 90 minute set!
By 1983, having left Status Quo, John decided it was time to put together a new band as a full-time project. The name chosen for this venture was Stranger - a four-piece band whose line up featured a fine selection of respected musicians, comprising; John Coghlan on drums, guitarist Ray Majors (ex-Mott and British Lions), bass player Ian Ellis (ex-Savoy Brown and Steamhammer), and keyboard player Jeff Banister. The band's potential was obvious from the start and they began their career on a positive note, writing and rehearsing their own original material.
Later on in the year John Coghlan teamed up with a trio of other well-known musicians in what was described as a 'side-line' project, called Rockers. The four man line up boasted Coghlan on drums, Phil Lynott (the late great front man from Thin Lizzy) on bass, guitar and vocals, Chas Hodges (from Chas 'n' Dave) on keyboards and Roy Wood (ex Wizzard, ELO and The Move) on guitar and just about everything else - including vocals. This all-star band negotiated a record deal with CBS for the release of a single comprising a medley of rock 'n' roll classic songs - where the individual segments of each number were edited together and coupled with a Roy Wood original composition entitled 'We Are The Boys (Who Make All The Noise)'. The completed medley was issued as either a seven inch or extended twelve inch single under the umbrella title of Wood's own 'We Are The Boys....' title in late November of 1983.
Coghlan's next musical project saw him once again working with guitarist Ray Majors, (who had previously worked with The Kinks and Mott the Hoople amongst other bands); Coghlan and Majors were introduced to three musicians with a view to the formation of a completely new line up. With the addition of a change of name to Partners In Crime (inspired by an Agatha Christie novel), the band began working on demo material in the early months of 1994. In addition to both John Coghlan and Ray Majors the line of the new band comprised; Mac McCaffrey on bass, Mark De Vanchque (aka Mark Booty - formerly with a band called Wildlife) on keyboards and vocalist Noel McCalla (ex-Moon and Jody Street).
The first Partners In Crime release was a single issued in October 1984 entitled 'Hold On', written by Trevor Rabin and previously recorded by 'Yes' on their 1983 album '90125'. Shortly after the release of this single the band played their first ever live show, at the Marquee Club in London on November 13th. The material included in this live set was a showcase for the tracks which would appear on their debut album. The band actually performed nine of the ten songs from the forthcoming album - playing one song called 'Gypsy Tricks' twice (the second time as an encore). Only one song which the 'Partners' performed on the night would remain unreleased throughout their career - '(Don't Let It) Slip Slide Away'.
The Partners In Crime album 'Organised Crime' was finally released in May 1985 and received favourable reviews throughout the music media, who basically hailed the band as a new AOR sensation. However, despite this increasing popularity the record company never seemed to provide the band with the support they clearly deserved - with the result that their album suffered a similar fate to the three singles that had preceded it. Although sales had steadily increased with each new record release, sadly none were destined to reach the charts. No doubt this lack of success was ultimately a major factor in the untimely demise of the band, some months after the release of the 'Organised Crime' album.
Coghlan continued to tour regularly with Diesel - featuring an ever-changing line up of musicians, throughout the next three years. Playing mainly pub and club venues the band enjoyed great success as a live band, never failing to satisfy their audiences with a mixture of hard rocking blues based material. Some of the most notable musicians to have passed through the Diesel band during this three year period included; Charlie McCracken (ex-Rory Gallagher), Dave Lloyd (ex-Nutz and Rage), and guitarists Bernie Marsden, Micky Moody and Ray Minhinnett (the two latter men having also worked with Bob Young on various projects for many years).
The following month of August saw John Coghlan re-emerge with a new Diesel Band line up, whom it was rumoured had negotiated a record deal with a small UK label for the release of the band's first ever single. The track was entitled 'Licensed To Rock' and was scheduled for release during September of 1988. The line up of the band that would feature on the record was Coghlan on drums, John Verity on guitar and vocals, Jeff Brown on bass and guitarist Ray Minhinnett.
Having completed the tour dates with Diesel, John Coghlan decided to put the band on hold once again to enable him to fly to Australia where he would once again work with Alan Lancaster. Lancaster - who had recently departed the successful band Party Boys, had invited Coghlan to join a new band he was putting together with Australian guitarist John Brewster, called the Bombers. John worked happily with The Bombers for a year, but was glad to get back to the UK in 1990.
After Australia, in the early 90s, the Diesel line up once again included former Status Quo road manager and songwriter Bob Young. Together with Coghlan the band also featured vocalist Phil May (ex-Pretty Things), guitarist Ray Minhinnett, Chris Stewart (ex-Frankie Miller and Joe Cocker) on bass, and keyboard player Hilly Briggs. The band toured regularly and performed a varied selection of material which included both cover versions as well as several original compositions, written by the band members themselves. On a typical night their live show would include such covers as; 'Big Boss Man', 'Steamy Windows', 'Bad Case Of Lovin' You (Doctor Doctor)', accompanied by self penned tracks including; 'Turn Me Loose', 'Ain't Got No Money' and 'One Way To Roll'.
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NEVER THE BRIDE
Sunday on the International Stage approx 12.00 Midnight
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Living up to Roger Daltry's claim that Nikki Lamborn is the greatest female vocalist on the planet, Nikki goes along way to proving this tonight with a fantastic and powerful voice that even hits the ears of all at the bar at the other end of the tent. Combine this with the song writing abilities of Catherine Feeney to form an awesome duo, but don't forget the rest of the band as Murray Gould on guitar has played with the likes of Elton John and is currently working with Dido, John Tonks on drums has worked with Fish, Raulo Mallo, Thunder, Lamb and many more and bassist Greg Harwoods has worked with James Brown and Barry white to just name two of many. Putting all these fine musicians together was sure to turn out with a good result but not only was it a good result it was a brilliant result with a great response.
Blues Matters
Bournemouth Echo
Never the Bride
Once again I have been surprised at the wealth of musical talent that appears to go largely unnoticed by the vast majority of music lovers. Never The Bride should be a band recognised by all, but like many on the UK circuit have been hidden away behind such dross as that dished out by the likes of Pop Idol and Fame Academy.
Nikki Lamborn possesses a talent that many modern day female vocalists would gladly die for. A power and presence that can most definitely not be ignored, and previously described as being a blend on Janis Joplin and Tina Turner, but I would add Joe Cocker, Robert Plant and Aretha Franklin to that list. Strange combination? Go see the band and listen for yourself.
Catherine 'Been' Feeney on keyboards displayed an energy to her playing that looks like it would hurt. And believe me this girl can really play. And both girls dig in to each piece with an apparent enthusiasm bordering on the manic. They seemed to be really enjoying themselves. Very few bands catch me enthralled like this. I actually bought a CD there and then. If you have never seen NTB before then do so soon
Never the Bride's Nikki Lamborn and Catherine Feeney first met on stage at a jam session in a London pub.
Instant rapport and a similar taste in music and direction, lead to more jamming before Nikki from Bristol and Catherine, better known as Been, from Glasgow, formed a song writing collaboration.
Nikki commuted to write, gig and busk in Covent Garden. Never the Bride was born and the duo built up a core following around the capital.
Their live reputation went from strength to strength and big support slots followed from The Who, ZZ TOP and The Pretenders. After successfully supporting The Who, a personal call from Roger Daltrey lead to Nikki and Been joining Daltrey, Alice Cooper, Paul Rodgers, Peter Frampton and a few more rock gods on The British Rock Symphony Tour. The band toured the UK, Europe and Australia with the Orchestra, making a huge impression with their interpretation of Led Zeppelin's Kashmir and Stairway to Heaven.
Their first performance at The Royal Albert Hall is a key moment in Nikki and Beens' lives. Roger held up both their arms and said to the audience who were going crazy, "What d'ya reckon then? Nikki Lamborn has the best female rock voice since Janis Joplin and I know what I'm talking about, I knew Janis."
"After The Rock Symphony Tour ended in Australia, we decided to stay awhile and write some songs," explains Been. "We did a Thelma and Louise, rented a car and drove across the country drinking tequila in small bottles.
"The money had run out by the time we reached Sydney, but luckily it was around the time of The Olympics and there were lots of people to entertain. Our busking skills paid for the song-writing trip and some of those songs are on our latest album, Surprise!"
Nikki's powerful presence and strong vocals has been described as Tina Turner and Robert Plant rolled into one. Her incredible voice came under the spotlight while coaching a Cambridge choir girl in the ways of rock for Channel 4's Faking It series.
Been, keyboard player and occasional guitarist, is the main composer behind the songs that together with Nikki's voice, make Never the Bride unique.
Other band members include Murray Gould on guitar, who has played with Elton John, Dido and Faithless, and Greg Harwood on bass, who has played with every one from Ronan Keating to James Brown. Drummer John Tonks repertoire includes Steve Winwood and the Sugarbabes.
As a response to their growing fanbase worldwide, the band have recorded a DVD rockumentary, entitled For Richer For Poorer, highlighting life for a rock band on the road both at home and abroad.
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